Wolfgang Amadé Mozart - The Compleat Mozart (Neal Zaslaw)

Appendix C

Biographies of the contributors

Rudolf Angermüller (R.A.), German musicologist, is professor of musicology at Salzburg University and is the academic librarian of the Internationale Stiftung Mozarteum in the same city. He is an editor of the Neue Mozart-Ausgabe and the author of many works about Mozart and his music.

Alfred Beaujean (A.B.), music critic in Aachen, studied sacred music as well as piano. A contributor to the West German and Bavarian Radio Broadcasting Companies, the Frankfurter Allgemeine Zeitung, and numerous other music and recording publications, he has published articles in Konold’s Dictionary of Orchestra Music, among others, and has served, since 1962, on the jury of the German recording award, the Deutsche Schallplattenpreis.

Dietrich Berke (D.B.), German musicologist, serves on the editorial boards of the Neue Mozart-Ausgabe and the Neue Schubert-Ausgabe and is Director of Publications for the music publisher Bärenreiter-Verlag.

Joseph Braunstein (J.B.), Ph.D. from the University of Vienna, 1923, was a member of orchestras led by Bruno Walter, Otto Klemperer, Wilhelm Furtwängler, and Richard Strauss under whom he played Salome, Elektra, Die Rosenkavalier, and Die Frau ohne Schatten. He came to the U.S. in 1940 where he taught at the Mannes College of Music, the Manhattan School of Music, and The Juilliard School in New York, where he currently resides.

William Cowdery (W.C.), Assistant Professor of Music at Ithaca College, is a musicologist and keyboard player whose doctoral dissertation was on J. S. Bach’s early cantatas.

Charles Cudworth (C.C.), (1908-77), curator of the Pendlebury Library at Cambridge University Music School, prepared editions of many eighteenth-century works for performance and was a prolific writer of music criticism and annotations for recordings. Mr. Cudworth was awarded an honorary doctorate by the Open University in recognition of his work on their music courses.

Sibylle Dahms (S.D.), musicologist and dance scholar, wrote her Ph.D. thesis for the University of Salzburg on Baroque theater and opera in Salzburg. Since 1978 she has been curator of the Derra de Moroda Dance Archives at the Institute for Musicology at Salzburg University. She has recently collaborated on opera productions with the Berlin Comic Opera and the Vienna State Opera.

Graham Dixon (G.D.), is a senior producer responsible for early music in the Music Department of BBC Radio 3. He has published extensively on sacred music in 17th-century Rome, applying his liturgical knowledge to problems of context in the music of other periods and places as well. He is the author of a monograph on Carissimi.

Cori Ellison (C.E.), Music Editor of Stagebill and Adjunct Assistant Professor of Music at New York University, is a contributor to The New Grove Dictionary of Opera and Opera News. She has served as Music Advisor for WNET’s Great Performances series and is annotator for vocal programs at Lincoln Center’s Mostly Mozart Festival and Great Performers series.

Karl Gustav Fellerer (K.G.F.), (1902-84), German musicologist, was until 1970 Professor of Music at the University of Cologne. The founder and editor of several musicological journals, publication series and anthologies, he is especially noted for his contribution to our knowledge of the history of music in the Catholic church.

Marius Flothuis (M.F.), Dutch composer, musicologist, and noted authority on Mozart’s music was for many years artistic director of the Concertgebouw Orchestra before assuming a professorship in musicology at Utrecht University. He is a member of the Editorial Board of the Neue Mozart-Ausgabe.

Sir William Glock (W.G.), was for several years chief music critic for The Observer and later director of the Summer School of Music at Bryanston before its move to Dartington Hall. Later music critic for the New Statesman and Controller of Music for the BBC, he has served more recently as general editor of the Eulenberg music books published by Schott and Artistic Director of the Bath Festival.

Harry Halbreich (H.H.), Belgian musicologist and critic, has published in half-a-dozen European languages and teaches musical analysis at the Royal Conservatory in Mons.

David Hamilton (D.H.), music journalist and critic with a vast knowledge of recorded music, has for many years been music critic for The Nation. In addition, he is the New York music correspondent for the Financial Times and was a contributing editor of High Fidelity.

Roger Hellyer (R.H.), English bassoonist and musicologist, is an expert on European wind band music of the 18th and 19th centuries.

Wulf Konold (W.K.), German musicologist, taught musicology at the University of Kiel, was Program Director for Radio Saarland and Chief Dramaturgist for the Nuremberg Music Theater. Presently he teaches at the Hochschule für Musik und Theater in Hannover.

Uwe Kraemer (U.K.), German musicologist, lives in Hamburg where he teaches and is active as a critic and music consultant to recording companies, broadcast media, and music journals.

Alan M. Kriegsman (A.M.K.), taught musicology at Columbia University for five years. He was a music and performing arts critic on the San Diego Union and the Washington Post until his appointment as the Post’s dance critic in 1974. He has lectured at The Juilliard School and Harvard and Temple Universities, among others. In 1976 he was awarded the Pulitzer Prize in Criticism.

H. C. Robbins Landon (H.C.R.L.), founder of the Haydn Society, was later Special Correspondent of The Times writing primarily from Eastern Europe. Author of books on Haydn, Mozart and other eigthteenth-century composers, he produced many editions of the Viennese classics including the first edition of all of Haydn’s symphonies and has shared in the editing of the Neue Mozart-Ausgabe.

Robert D. Levin (R.D.L.), American pianist and theorist teaches at the University of Freiburg. He has published completions of several Mozart fragments and cadenzas for the violin concertos as well as a noted reconstruction of the Symphonie Concertante in E flat major for Four Winds and Orchestra, K. 297B, which has been widely performed and is the subject of a monograph published by Pendragon Press.

William S. Mann (W.S.M.), (1924-89), was for years on the music staff of the London Times becoming chief music critic in 1960. He was a prolific author of program and liner notes, record criticism and book reviews. In addition he broadcast regularly on musical topics. His book The Operas of Mozart (Oxford) appeared in 1977.

Hans-Christian Müller (H.-C.M.), studied musicology at the Universities of Berlin and Kiel. After working on the editorial staffs of the music series Das Erbe deutscher Musik (The German Musical Heritage) in Hamburg and of the music publisher B. Schott’s Sons in Mainz, he has, since 1974, served as scholar-librarian of the Municipal and Provincial Library, Dortmund.

Wolfgang Plath (W.P.), German musicologist, was appointed in 1960 co-editor of the Neue Mozart-Ausgabe. His work with Mozart autographs has greatly influenced our knowledge of the chronology and authenticity of Mozart’s oeuvre.

Christopher Porterfield (C.P.), is the Senior Editor in charge of the culture sections of Time Magazine. Formerly a music critic for Time and a cultural correspondent based in London, he has provided program notes for Time-Life Records and written on music for Smithsonian Magazine and the PBS television series “Live From Lincoln Center”, among others.

Andrew Raeburn (A.R.), former Executive Director of the Van Cliburn Foundation, was born in London. Involved with music since the age of four, he has been head of Argo and New World Records, musical administrator of the Boston and Detroit Symphony Orchestras, a writer, teacher, and radio and television commentator. Currently a consultant, he resides in Texas.

Christopher Raeburn (C.R.), has worked extensively on the first productions of Mozart operas as well as contributing over 200 hitherto unpublished documents to Mozart: A Documentary Biography by Otto Erich Deutsch. He has written articles for numerous periodicals including the Mozart-Jahrbuch and Musical Times. Since 1958 he has been a producer with Decca Record Company, London.

Stanley Sadie (S.S.) edited The New Grove Dictionary of Music and Musicians (1980) to which he contributed many articles. Formerly editor of The Musical Times and for many years critic for the London Times, he is currently preparing an extended television series on music in society which will be accompanied by an eight-volume history.

Ernst Fritz Schmid (E.F.S.), (1904-60), German musicologist, founder of the Mozartgemeinde and the German Mozartgesellschaft was, in 1954, appointed academic director of the Neue Mozart-Ausgabe where he worked on source materials, clarifying many details, and organized the Augsburg archives on which he had worked extensively before the Second World War.

Erik Smith (E.S.), son of conductor Hans Schmidt-Isserstedt, was brought up in England where he now lives. As recording producer for Decca London and later Philips, where he became head of A&R, he produced, among many others, the first modern recordings of La clemenza di Tito and La finta giardiniera as well as the first complete sets of Mozart’s wind music, dances, and serenades.

Denis Stevens (D.S.), BBC producer for 6 years, formed and conducted the Ambrosian Singers and the Accademia Monteverdiana. Appointed to two Distinguished Professorships, he taught widely, from 1955 to 1975, in England and America where he now resides. A publisher of many editions of early music, his most recent book is The Letters of Claudio Monteverdi (1980).

Charles Suttoni (C.S.), a one-time advertising executive, is a free-lance writer and scholar with a Ph.D. in musicology. He has, over the years, written for Musical America and provided historical and program notes for Time-Life Records. His most recent publication is an annotated translation of Franz Liszt’s An Artist’s Journey: Lettres d’un bachelier ès musique 1835-1841 (1989).

Alan Tyson (A.T.), British musicologist, is a senior research fellow at All Souls College, Oxford. He has worked extensively on questions of authenticity, music publishing and printing, dating, watermarks, and copying of the period 1770-1850. His seminal studies of Mozart’s manuscripts have now been published in book form.

Neal Zaslaw (N.Z.), Professor of Music at Cornell University and member of the graduate faculty at The Juilliard School, is musicological adviser to The Mozart Bicentennial at Lincoln Center. He has worked extensively on music of the seventeenth and eighteenth centuries, in particular on questions of performance practice. His book Mozart’s Symphonies: Context, Performance Practice, Reception appeared in 1989.